| Title |
Author |
Journal |
Issue |
Published |
ISBN / DOI |
Subjects |
Series |
|
Precarious scenes: Fieldwork in Hong Kong through protest and pandemic
|
Jonathan Chan |
Perfect Beat |
Vol 21 No. 2 (2021) Special Issue: COVID-19, Music and the Asia-Pacific (Part 2)
|
Dec 17, 2021 |
10.1558/prbt.19335
|
Popular Music
|
|
|
The role of communication technologies between choreographer and composer during Aotearoa/New Zealand’s COVID-19 response
|
Jesse Austin-Stewart, Jason Wright |
Perfect Beat |
Vol 21 No. 2 (2021) Special Issue: COVID-19, Music and the Asia-Pacific (Part 2)
|
Dec 17, 2021 |
10.1558/prbt.19343
|
Popular Music
|
|
|
Hearing the inaudible: The Hong Kong experimental music scene in the COVID-19 pandemic
|
François Mouillot |
Perfect Beat |
Vol 21 No. 2 (2021) Special Issue: COVID-19, Music and the Asia-Pacific (Part 2)
|
Dec 2, 2021 |
10.1558/prbt.19421
|
Popular Music
|
|
|
‘It was hard before and it’s even harder now’: The impact of COVID-19 on Australia’s live music and arts entertainment industries
|
Kat Nelligan, Pariece Nelligan |
Perfect Beat |
Vol 21 No. 2 (2021) Special Issue: COVID-19, Music and the Asia-Pacific (Part 2)
|
Nov 26, 2021 |
10.1558/prbt.19345
|
Popular Music
|
|
|
Creative collaboration in the cloud: Using Splice Studio and Audiomovers to enhance online music education outcomes
|
Barry Hill |
Perfect Beat |
Vol 21 No. 2 (2021) Special Issue: COVID-19, Music and the Asia-Pacific (Part 2)
|
Nov 18, 2021 |
10.1558/prbt.19304
|
Popular Music
|
|
|
The social media strategies of punk and metal bands on Instagram during the COVID-19 closures of live music venues in Melbourne
|
Al Marsden |
Perfect Beat |
Vol 21 No. 2 (2021) Special Issue: COVID-19, Music and the Asia-Pacific (Part 2)
|
Nov 18, 2021 |
10.1558/prbt.19369
|
Popular Music
|
|
|
The embodiment of ‘Chinese strength’: Cultural collectivism in the lyrics of epidemic songs
|
Wenyu Zhong, Mengyu Luo |
Perfect Beat |
Vol 21 No. 2 (2021) Special Issue: COVID-19, Music and the Asia-Pacific (Part 2)
|
Nov 15, 2021 |
10.1558/prbt.19331
|
Popular Music
|
|
|
The Jazz Social: Jazz performance during COVID
|
Leigh Carriage, Toby Wren |
Perfect Beat |
Vol 21 No. 2 (2021) Special Issue: COVID-19, Music and the Asia-Pacific (Part 2)
|
Sep 9, 2021 |
10.1558/prbt.19344
|
Popular Music
|
|
|
Jealous corona: Social media, musical propaganda and public health in Vietnam
|
Lonán Ó Briain |
Perfect Beat |
Vol 21 No. 2 (2021) Special Issue: COVID-19, Music and the Asia-Pacific (Part 2)
|
Sep 9, 2021 |
10.1558/prbt.19342
|
Popular Music
|
|
|
Pandemic pedagogy and facilitating connection
|
Katherine In-Young Lee |
Perfect Beat |
Vol 21 No. 2 (2021) Special Issue: COVID-19, Music and the Asia-Pacific (Part 2)
|
Sep 9, 2021 |
10.1558/prbt.19396
|
Popular Music
|
|
|
K-pop beyond the lockdown: Fandom, participation, and experiencing community online
|
Hae Joo Kim |
Perfect Beat |
Vol 21 No. 2 (2021) Special Issue: COVID-19, Music and the Asia-Pacific (Part 2)
|
Sep 8, 2021 |
10.1558/prbt.19303
|
Popular Music
|
|
|
Pre-existing conditions: Precarity, creative justice and the impact of the COVID-19 pandemic on the Victorian music industries
|
Catherine Strong, Fabian Cannizzo |
Perfect Beat |
Vol 21 No. 1 (2021) Special Issue: COVID-19, Music and the Asia-Pacific (Part 1)
|
Aug 27, 2021 |
10.1558/prbt.19379
|
Popular Music
|
|
|
Resist or perish! Understanding the mode of resistance among young DIY Indonesian musicians
|
Oki Rahadianto Sutopo, Gregorius Ragil Wibawanto, Agustinus Aryo Lukisworo |
Perfect Beat |
Vol 20 No. 2 (2020) Special Issue: Music and Politics
|
Jun 23, 2021 |
10.1558/prbt.40851
|
Popular Music
|
|
|
‘There’s no music on a dead planet’: The role of Green Music Australia in climate change activism
|
Julie Rickwood |
Perfect Beat |
Vol 20 No. 2 (2020) Special Issue: Music and Politics
|
Jun 23, 2021 |
10.1558/prbt.40329
|
Popular Music
|
|
|
Seleka’s profane potency: Kava artists and rebellious music in Tonga
|
Arcia Tecun, Taniela Petelo |
Perfect Beat |
Vol 20 No. 2 (2020) Special Issue: Music and Politics
|
Jun 23, 2021 |
10.1558/prbt.40000
|
Popular Music
|
|
|
‘Nonagon infinity opens the door!’: Formation of a cross-album concept through motivic interrelation in the music of King Gizzard and the Lizard Wizard
|
Paul Ballam-Cross |
Perfect Beat |
Vol 20 No. 1 (2019)
|
Jul 3, 2020 |
10.1558/prbt.38104
|
Popular Music
|
|
|
Not given lightly: Chris Knox, nationalism, whiteness and punk/indie discourse in Aoteraroa/New Zealand
|
Matthew Bannister |
Perfect Beat |
Vol 20 No. 1 (2019)
|
Jul 3, 2020 |
10.1558/prbt.39470
|
Popular Music
|
|
|
Experiences and perceptions of gender in the Australian music industry
|
Hannah Mary Fairlamb, Bianca Fileborn |
Perfect Beat |
Vol 20 No. 1 (2019)
|
Jul 3, 2020 |
10.1558/prbt.39800
|
Popular Music
|
|
|
Rationales in flux: Charting transcultural Polynesian music-making processes
|
Andrew Faleatua |
Perfect Beat |
Vol 19 No. 2 (2018)
|
Oct 11, 2019 |
10.1558/prbt.36237
|
Popular Music
|
|
|
Ebbs and flows: Women as musicians in Perth popular music, 1980s–1990s
|
Laura Glitsos |
Perfect Beat |
Vol 19 No. 2 (2018)
|
Oct 11, 2019 |
10.1558/prbt.38592
|
Popular Music
|
|